Full text of "Canadian Film Weekly (Dec 25, 1963)"

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Toronta Christmas, 1963 Ganada

Tiny Tim: ‘God Bless Us Every @ney |
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TELEVISION. .2°¢.\-

GIVEAWAY = {

“The Wheeler Dealer
Sweepstakes” on
ABC-TV network ~
every week for five
weeks! National attention via an
oil-well giveaway on the top-rated
“Price Is Right”! Weekly audience
estimated at 20 million, insuring
more than 100 million impressions!

SCREENING
PROGRAM

A unique program of screenings for
brokerage firms, security analysts,
financial page editors, across the
country. Keyed to the Wall Street
hijinx in the film, this program
should be a great grapevine and
garner off-amusement page space!

ON RADIO

A daringly-DIFFERENT radio
campaign with unique angles.
Featuring that incomparable press
agent Buddy Zack. Will comple-
ment the other radio spots and TV
exposure with hilarious 60 and 30-
second spots. Try and catch...
for kicks!

TV SPOTS

Off-beat campaign with specially-
produced commercials starring
James Garner and Lee Remick in
provocative scenes and personal
pitches! Acclaimed by exhibitors as
the funniest motion picture trailers
ever! A tremendous plus for your
pre-sell!

- seul seo

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DEALER PROMOTIONS

PAPERBACK =a
PROMOTION

3ig push to the count-

ess readers of popular-
yriced books via Ban- =
am’s 11,000 outlets in the nation
lus special tie-in promotion via
treamers, cards, etc!

ADVERTISING
CONTEST

n key cities, special ads will be
un on ‘“‘What’s A Wheeler Dealer?”
XYontest with winners awarded cash

yrizes and title-value obviously
videly promoted!

SNEAK PREVIEWS

\ special series of sneak previews
jlanned during the run of “THE
VIP’s” will give the picture a tre-
nendous captive audience and the
nevitable word-of-mouth!

HLA CHILLS

dM
designed by NORMAN NORELL ee GEURGE d W

| COSMETIC

TV APPEARANCES

James Garner on the Bob Hope
spectacular! Lee Remick on Andy

Williams show! James Garner on
“‘T’ve Got A Secret’’! All with credits

for film spotted str ategically!

FASHION AND ‘i

PROMOTIONS— ‘:
‘THE MIDAS TOUCH’

Vast promotion inspired by the
glamorous wardrobe created for Lee
Remick by Norman Norell, with
special kits for women’s pages, fash-
ion shows and window displays. And
complementing the clothes of mas-
ter designer Norell, Helena Rubin-
stein has created a look she calls
“The Midas Touch,” with a dazzl-

Based oil a 10) cl by

GQDMAN alt WALA

| PHONOGRAPH ,

wa RANSOnOnr PRODUCTION

DAGKLO-(UUID NVE-UOHN ASIN: i ntD.. nt th
caazicacis ANNUAL AVI

ing array of cosmetics and coiffures.

Truly a magical combination with

tremendous re pees

RECORDS ! ~.

Randy Sparksand the ., =
New Christy Minstrels sing Sv
the potential-hit title-song. Big
disc-jockey push and Columbia
Records drive keyed to openings.

MAGAZINE PUBLICITY

Major Life layout scheduled for
film, also rave reviews in McCall’s,
Redbook, Cosmopolitan and
others! Seventeen’s Picture Of The
Month — for November!

NEWSPAPER ADS

See the press-book for pre-tested
consumer ads with zest and zing!
Specially posed shots of stars
illustrate the titillating copy-lines!
Every ad a business-getter!

AS PIIURL.

Seasons Greetings

Let JERRY and DEAN... Mamd the Store
Gor the Holidays

JERRY LEWIS

GUARANTEEING EVERY CASH CUSTOMER
THE GREATEST CHARGE OF HIS LIFE!

"Waos MINDING ©
THE STORE?"

Zé aan PAR AMOUNTS Seven Days In May - Becket

AC pvanenulys All the Way Home

ital KEY To ALL Love With the Proper Stranger
“ll THE BEST Fall of the Roman Empire

IN 1964 AND OTHER BLOCKBUSTERS
SOON TO BE ANNOUNCED

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NO QUESTION
WHO'LL BE DOING
THE HOT HOLIDAY BUSINESS—
IT’S THE SHOWMAN
WHO BOOKS...

DEAN M

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her Crepes Suzette!

VOICE of ie CANADIAN MOTION PICTURE

INDUSTRY

TORONTO, December 25, 1963

‘A NEW ERA LOOMS BEFORE INDUSTRY’

"OUR BUSINESS IS VERGING ON
A REVOLUTION'—LAZARUS

Paul N. Lazarus, Jr., executive vice-president of Samuel Bronston
Productions, which is making The Rise and Fall of the Roman Em-
pire at a cost of $16,000,000, told the Allied States Convention, held
a while ago in the Americana Hotel, New York, that “A new era

Offtrack Wagering Wagering
No Easy Operation

Smashing 3-1 victory for those
favoring offtrack betting in the
recent New York plebiscite and
Walter Reade-Sterling’s bid to
enter the field through the es-
tablishment of National Off-
Track Viewing, Inc. has aroused
much interest and _ discussion.

(Continued on Page 10)

Package Insurance
Policies Suggested

Fire insurance rates, with the
possible exception of those of
British Columbia, now reflect the
use of safety film in theatres,
Fred Morley of Famous Players,
head of the insurance committee
of the Motion Picture Industry
Council of Canada, told that or-

(Continued on Page 10)

Thoughts
At the New Dear

I shall-pass through this world
but once. If, therefore, there be
any kindness | can show, or any
good thing I can do, let me do it
now; let me not defer it or neglect
it, for | shall not pass this way
again.

—Attributed to
Stephen Grellet

You cannot do a
kindness too soon
Because you never know
how soon

It will be late.

—Emerson

Home Is Where The
Kids Get Started

Highly regarded authorities do not correlate juvenile misbe-
havior with the communications media and it is most difficult to
establish reasonable criteria on which to base any statutory classifi-
cation of films, Margaret G. Twyman, Community Relations director

for the Motion Picture Associa-
tion of America, told the Marano
Committee of the New York Leg-
islature, which is studying the
dissemination of offensive and
obscene materials. This is inter-
esting to Canadians, since in this
country classification is common
to most of the provincial cen-
sor boards.

Most young people aren’t in-
terested in the film adults
think are suitable for them and
are attracted to those labelled
“Adult,” she said. What the chil-
dren see should be up to the
parents and would be if they
were interested enough. She re-

(Continued on Bogs 10)

Andrew & Virginia Stone
To Make Two For MGM

Andrew and Virginia Stone are
preparing two features for MGM,
the first to be filmed in England
and the second is scheduled to
be made in the USA.

The Secret of My Success,
which will go before the came-
ras shortly, is a romantic come-
dy Stone will direct from his
own screenplay.

The Winning of the Sky will
be shot next summer in Pana-
vision and MetroColor. It deals
with the development of com-
mera aviation.

looms before the motion picture
industry.” Of the film, to be
roadshown next spring, he said,
“Motion pictures of this magni-
tude require mew concepts of
selling and distribution.” Para-
mount will release another
Bronston feature in work, the
John Wayne-Claudia Cardinale
starrer, Circus World.

Lazarus’ nutshell analysis of
the motion picture industry is
worth quoting verbatim:

“Our business is verging on a
revolution. Thirty years ago we
were in the Major Company
Era, the age of the Hollywood
Titan, the Star List and the Stu-
dio-Made Program. Twenty years
ago, in the early war _ years,

(Continued on Page 10)

ap RIENCE EIEN IZICICIEIE EIEN IE ZEAE IE

Season’s
Greetings

DOLA
FILMS

Limited
Ww

New Address:

36 Prince Arthur Ave.
Toronto

New Phone:
927-2821

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Canadas Gift To
Hollywood: Execs

Much has been written about
Canada’s contribution of man-
power and womanpower to the
artistic side of Hollywood, par-
ticularly in the field of acting.
Some of the Canadians became
business people as well as ac-
tors, notably Mary Pickford of

(Continued on Page 22)

Slezak In AB-P Picture

Walter Slezak has been signed
by Associated British-Pathe for
a leading role in the Cliff Rich-
ards-starrer, Wonderful Life,
now before the cameras in the
Canary Islands. The film, which
AB-P will distribute, is being
directed by Sidney Furie, a for-
mer Canadian now working in

England.
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NEW YEAR. |

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SEASON’S GREETINGS

RANK FILM DISTRIBUTORS OF CANADA LTD.

PROTA PRO PASI OVT Sy e A
SPR DVDS PTS IS Aa AN

and to bring you greetings from all of us at —

THE ODEON THEATRES (CANADA) LIMITED

Incorporating the
Canadian Moving Picture Digest
(Founded 1915)

Vol. 28, No. 50 December 25, 1963
HYE BOSSIN, Editor

Assistant Editor, Ben Halter
Office Manager, Esther Silver
CANADIAN FILM WEEKLY
175 Bloor St, East, Toronto 5, Ontario
Authorized as Second Class Mail by the
Post Office Department, Ottawa, and for
payment of postage in cash.
Published by
Film Publications of Canada, Limited,
175 Bloor St. East, Toronto 5, Ontario,
Canada - Phone 924-1757
Price $5.00 per year

A WERRY ChRISTINAD

HOME IS WHERE—

(Continued from Page 7)
iterated that what is needed is
an “adequate program of parent
education.”

Mrs. Twyman cited a recent

article by Karl F. Bernhardt,
editor of the Bulletin of the In-
stitute of Child Study of the
University of Toronto. Bernhardt
States: “Many parents are con-
cerned about ‘bad companions’
and the influence of the peer
group on their children. The
child’s contacts with other chil-
dren provide him with oppor-
tunities to try out what he has
absorbed in the home. The basic
trends in his behavior resulting
from the treatment he has re-
ceived in the home may be
strengthened or reinforced by
his outside experiences, but not
changed radically.

“The same may be said of
other influences such as movies,
TV, comic books, and the like.
These will be interpreted in the
light of the values, attitudes and
motives the child has developed
in his relations with parents. The
community agencies for charac-
ter education such as the church,
scouts and camps are no guar-
antee of good character. If the
home has been adequate, then
these agencies will support and
reinforce, but if the home has
been deficient then it is unlikely
that they will help very much.”

‘Robinson Crusoe On Mars’
Paul Mantee and Vic Lundin
will star in Paramount’s Robin-
son Crusoe on Mars.
‘Erasmus With Freckles’
Twentieth Century-Fox will
join James Stewart, producer-
director Henry Koster, and
screenwriter Nunnally Johnson
for another film project, Eras-
mus With Freckles.

SaiPUsctieneerernaies

Christmas Number

CANADIAN FILM WEEKLY

‘A New Era

(Continued from Page 7)

came the Birth of the Indepen-
dent. This was the period when
independent production tried its
wings, when it faltered, fell and
rose to fly again.

“Ten years ago we entered the
Decade of the Independent, the
coming of age of the untram-
meled and talented producer and
the acceptance by the major
companies of the independent as
the primary source of product.

“We are now entering thenext
evolutionary stage, the Age of
the Independent Producer-Dis-
tributor. More and more, we

find, that the truly independent
is no longer satisfied with a
ditional, yes, even antiquated,
distribution techniques. Just as
he has pioneered the develop-
ment of a mature and progres-
sive production process, the Hi
dependent will probe and searc!
for new methods of bringing his
films to the marketplace. Our
own Bronston Distributions Com-
pany is an example of this. So
is Joseph Levine’s Embassy Pic-
tures. So are the announced
plans of Dino De Laurentiis and
many other major independents.

Offtrack Wagering

(Continued from Page 7)

Most knowledgeable people con-
sider it logical for theatres to be
the ideal setup for this type of
operation in view of their facili-
ties, staff, location, etc. and their
opinion seems borne out by the
New York theatre circuit’s pro-
posal to get into it. There is no
doubt that the Reade-Sterling
company made a thorough study
of all the factors involved be-
fore announcing its plan.

In brief this plan is to install
closed-circuit TV, tote boards
and mutuel machines in a num-
ber of its strategically-located
houses in New York. Bettors in
the theatre could see odds fluc-
tuations, the running of the
races and the payoffs simulta-
neously with those at the track
and make and collect their wag-
ers just as easily.

Apparently, the Reade-Sterling
group will not participate in the
wagering but will rely on reve-
nue from admissions to the the-
atres and from snack bars for
its profits.

Many who think that off-track
betting would be a success in a
hole-in-the-wall type of office or
store have their doubts about an
elaborate setup, such as a the-
atre, where an entrance charge
would be made. They argue that
the great majority of horse
players are office or factory
workers who would be reluctant
to pay the admission because
they would not have the time
to sit and view the races,

They also seem to think that
the cost of such an operation in
a theatre might be too high for
it to be a success, They point
to the $50,000 cost of each Eido-
phor closed-circuit large screen
TV projector and its installation
and relay line charges; the addi-
tionai staff required, such as
sellers, cashiers, moneyhandlers,
guards etc—about 15 inall; extra
cleaning staff etc.

Another point they stress is
that many gamblers will Stay
with their “bookies” because
they can make their bets on
credit, possibly over the phone,

because they can wager on any
major track and because they
can make proposition bets, such
as “parlays,” “round robins,” etc.

Those who favor off-track bet-
ting in theatres say that it is a
natural for houses where an
Eidophor installation could be
used for hockey games, football
games, fight and other sports,
such as the nine belonging to
Famous Players and Twinex in
and around Toronto showing
Maple Leaf hockey games; that
in Ontario all costs other than
those of operating a theatre may
be shouldered by the racetrack
from its nine per cent cut of the
wagers, by the Ontario Govern-
ment out of its six per cent and
the Federal Government from
its one-half per cent; and that
even if it brought in only a
small profit it would be better
than having the house stay dark
during the afternoon or operat-
ing matinees at a loss.

Opposition to the whole idea
of off-track betting was voiced
in an editorial in the Toronto
Daily Star titled “A poor bet” on
the grounds that it would not
have the claimed effect of elimi-
nating bookmakers without. in-
creasing gambling. It went on to
say that “Government facilities
might also make betting avail-
able in communities where book-
makers have not previously
Operated; the illegal ‘industry’
tends to concentrate in the larg-
er towns.” It said that bookmak-
ers do a business estimated an-
nually at $95,000,000 in Ontario
and often form part of “quite
elaborate law-breaking organiza-
tions,” which the advocates of
the scheme claim would be put
out of business and the profits
diverted to the provincial treas-
ury. This the editorial doubts.

In a very short time the New
York experiment will prove
Which of the two theories is
right and whether it is practical
for theatres. Until that time and
until it is approved in Ontario,
theatre Owners here can put off
making a decision about it.

INSURANCE

(Continued from Page 7)

ganization at the recent annual
meeting in Toronto. No signi.
ficant changes in rates have
taken place in the last year, his
report said, “Fire insurance rates
are still a matter for negotiation
by your agents or broker with
the insurance companies,”

In the last year numerous
small fires in theatres have been
attributed to cigarettes left on
theatre seats and upholstered
furniture, stuffed into air-condi-
tioning and heating ducts or
thrown into areas where clean-
ing supplies and combustible
waste materials are stored. Faul-
ty electrical equipment and wir-
ing is responsible for most large
fires everywhere.

“For years we have become
accustomed to having separate
insurance policies for fire, public
liability, boiler, business inter-
ruption and money coverages,”
Morley said. “Today all these
coverages can be obtained under
one policy called ‘Composite
Mercantile Insurance.’ If your
present insurance is not written
under this form I suggest you
contact your insurance agent
and have him explain the ad-
vantages and savings that could
be effected under this type of
policy.”

Morley noted that the Work-
men’s Compensation rate went
up in Saskatchewan — from 35c
to 40c per $100 of salary — and
Ontario’s rate, which went from
50c to 55c., is the highest in
Canada. Also July in Ontario’s
salary schedule will go up by
$1,000 to $6,000, making an addi-
tional $8 payable. On the con-
trary, the rate in British Colum-
bia, due to the excellent ex-
perience of the last four years,
went down 10c this year — from
50c in 1960 to 20c in 1963. Quebec
reduced its rate from 25c to 20c.
Accident prevention, through
closer supervision of work ha-
bits and good housekeeping, can
bring Ontario’s rates down.

Union contracts should be
examined to see that there is no
duplication of employer contri-
bution to union pensions in the
event of compulsory govern:
mental pension plans coming
into effect.

Morley suggested that non-
owned automobile insurance,
while not expensive, should be
investigated by all those whose
employees are using their cars
for company business.

MGM's ‘The Outrage’

The Outrage has been selected
by MGM as the final title for
the projected film formerly
called The Rape. Paul Newman
has been set to star in the out-
door action drama, scheduled to
go before the cameras in early
December with Martin Ritt di-
recting and A. Ronald Lubin
producing.

7
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the sinall Wor on tole Grantor me
of sanmy lg GLADIATOR MeTrOPOLiS

starring Richard Harrison, starring Gordon Mitchell, Bella Cortez,
starring Anthony Newley, Isabel Corey, Leo Anchoriz, Roldano Lupi, Liani Orfei,
Julia Foster, and Robert Stevens. Joseph Marco, and Liveo Lorenzon. Furio Meniconi, and Omero Gargano.

WE JOINED THE NAVY | ISVE&2ERENCHWOMAN

starring Kenneth More, Lloyd Nolan, and Joan O'Brien. starring Martine Carrol~and Dany Robin.

tom SEVEN ARTS

11 Adelaide St. West J gZ 4) | SEVEN ARTS
x ‘ Toronto 1, Ontario ft. i PRODUCTIONS
? EMpire 4-7193 | (hae LIMITED

QR PE NG RENEE DERE EERE RENEE RENE EE VERE VENEER NEUE MERE MELE NEE NE ULE URE HE RE EH

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* The Chief Barker and His Crew, The Poker ‘A
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» Variety Club of Ontario and other friends in §
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: My Sincerest Wishes a
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: Merriest of Christmases f
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_ Happiest of Chanukahs! =
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» Prosperity in the New Year &
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: Mike Peckan :
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Greetings

Super Pufft Popcorn Ltd.

and

The Canadian Automatic
Confections Ltd.

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THE SUMMERVILLES
PRINCE OF WALES THEATRE

TORONTO

PERE DE LELEL ELE RE EREIE PEELE LELEIELE IEE LELELELE IE ELELE IRIE LEE LE IEIC IEE LEER LE

A Happy New Year

Wictererererererere

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Christmas Number

CANADIAN FILM WEEKLY

Page 13

Charlie Duhig

OTION picture censorship

in Ontario came into ex-
istence because of patriotism
and not morality, just as in Que-
bec children under 16 were bar-
red from cinemas from 1927 to
1962 for the sake of safety and
not censorship. There is a gene-
ral impression that an adverse
effect on public morality and
juvenile behaviour by films led
to censorship in Canada’s two
largest provinces.

I learned about Ontario from
that remarkable old-timer,
Charles St. Clair Duhig of To-
ronto, now 74 and looking about
15 years younger than that. At
the same time I learned a little
more about The Theatorium, To-
ronto’s first cinema, which was
opened by John Griffin at 183
Yonge St., immediately south of
where Loew’s Yonge St. stands
now.

It was in The Theatorium in
1911 that a two-reeler showed
Americans defeating the British,
hauling down the Union Jack
and running up the Star-Span-
gled Banner in its place. Every
audience booed and protested.
The newspapers began to edi-
torialize about this affront by an
imported film and_ provincial
censorship was established. Up
to that time censorship was
local, with a police officer being
sent over from the station to the
neighborhood theatre to see if
there was anything on the screen
that he thought shouldn’t be
there.

By that time The Theatorium
had become known as The Red
Mill. Griffin had sold it in 1910
to L. J. (Jess) Applegath, the
hatter, along with the Crystal
Palace, later His Majesty’s The-
atre, which was further south on
the same side of Yonge St., next
to the Arcade across from Tem-
perance. Applegath operated the
Crystal Palace Film Exchange,
the second one in Toronto, at
141 Yonge, which was above the
theatre. Charlie recalls that the
screen at His Majesty’s was of
plate glass backed with a gauze-
like material.

Charlie went to work for Ap-
plegath at The Red Mill in 1910
as a doorman, became a projec-
tionist there from 1911 to 1919
with the exception of one year.
That year he managed the Bijou,
an old theatre on the south side

of Richmond near Yonge which

had been converted from live en-
tertainment. This theatre was
owned in partnership by Sam
McBride and Beamish the Bar-
ber. McBride later became the
colorful mayor of Toronto and
old-timers recall the shop of
Beamish on Bay and his sign:
“14 Barbers—No Waiting.”
About The Red Mill: In 1912
Charlton Howarth, a singer of
illustrated songs from Hamilton,
leased it from Applegath. He was

an uncle of Art and Stan Mil-
ligan, both gone now but for
years prominent in projectionist
circles, who entered the trade
through The Red Mill. The The-
atorium-Red Mill played a part
in the lives of many projection-

Two Od

ists, some of whom have de-
parted. Bill Covert, Toronto
union chief, worked there, as did
Roy Buckley, who became chief
inspector of theatres for Ont-
ario. Bill Redpath, retired now,
and Gus Demery, still active,
passed through it.

Duhig recalls when Loew’s was
opened in 1913 and The Red Mill
stood between it and Diana
Sweets, which later took over its
site to enlarge the store which
is still there. “People said they’d
kill us but they didn’t,” he said.
The Red Mill was open into the
20’s.

About Charlie Duhig: He was
born in England and attended
Dulwich College, then London
Polytechnic and after that Zurich
Polytechnic. In the last place his
teacher was Albert Einstein,
with whom he maintained an
acquaintanceship in later years.
Charlie arrived in New York in
Jan., 1908 as an immigrant. He
had become interested in movies
after seeing an article in a 1907
edition of Popular Mechanics.
He came to Toronto and went
to work at old Scarborough
Beach, in the East End, running
a shooting gallery for a man
named Dorsey, whose restaurant
concession had as its managing

steward a lad who had come re-
cently from Minneapolis — N. L.
Nathanson, later to develop and
head Famous Players.

In 1919 Charlie went to Chica-
go and he still has his operator’s
licence from that city. It bears the

-Timer's

stamped signature of Wm. Hale
Thompson, the noisy mayor who
threatened publicly to punch
King George V on the nose if
he ever showed up in The Win-
dy City. Thompson was the win-
diest man in The Windy City.
Charlie, a tenor soloist at con-
certs, joined the DeMille Quar-
tette headed by Hartwell De-
Mille, cousin of Cecil B. After
touring with the DeMille Quar-
tette Charlie came back into the
business in Toronto and he was
for 27 years a boothman at the
Century.

These days Charlie travels,
plays the piano and goes to
places where he can exercise his
faultless Italian. Or thinks back
on his 54 years in the business
and the friends he has made. He
enjoyed every day of it, he says.

PS: About Ontario censorship:
When it was established a _ the-
atre owned by Wilson the Barber
at Broadview and Danforth —
‘it was all mud then—” was
used to screen and censor films.
In 1912 a theatre inspection
branch was added and Bob New-
man, a member of the backstage
staff of Shea’s Victoria, open
until two years ago, was appoin-
ted chief inspector.

A. W. Shackleford

N giving a three-column story,

topped by a photo of Leth-
bridge Pioneer A. W. Shackleford
and Calgary Pioneers Ken Leach
and Pete Egan looking at a 1903
projector, to The Diamond Jubi-
lee of the Silver Screen in Can-
ada, The Lethbridge Herald
printed some interesting infor-

A. W. SHACKLEFORD

mation about the first cinemas
in that city. The story, mainly
about the career of Shackleford,
a former mayor and operator of
the Paramount as a Famous
Players partner, starts:

“High honor was paid last
week to a citizen of Lethbridge,
A. W. Shackleford, 42 years a
theatre manager and owner in
the city, when he was selected
by the showmen of Southern
Alberta to be in charge of the

(Continued on Page 22)

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Springhill, NS

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Saint John, NB

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HARRAH HARA AAAAN

Jean Lewis

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for Scratch Removal
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Christmas Number

OST of the deliberations of

the delegates to the annual
meeting of the National Com-
mittee of Motion Picture Exibit-
ors Association of Canada would
“have more to do with saving
money than bringing more
money past the boxoffice,” F.
Gordon Spencer of St. John, NB,
chairman, said in his address at
the opening of the 14th annual
convention in Toronto not long
ago. “We still have a good thing
by the tail known as the mov-
ing picture. Too often we just
get swung around by the tail.
The film companies take too
much money out of us; they,
too often, are running our the-
atres — and too often, if they
didn’t who would?”

He recalled hearing about a
movie house in a small town
which had a sign: “Open.” Even
the owner knew the public had
to be told that or it would just
pass by. “I have never seen such
a sign but I have seen many
theatres that needed it ... I
suggest that our theatres today
must behave themselves in such
a manner that they'll never need
the ‘Open’ sign; there should be
no doubt in anybody’s mind.”

Live TV is dead, so that there
is a dullness about the whole
thing and commercials often out-
shine the program, he noted.
That doesn’t mean that people
have stopped looking at TV—far
from it—but it does mean that
they often talk about something
else. “One of the things is
movies. Remember that every
time anybody says TV is bad,
he is apt to say movies are bet-
ter. This is happening.”

GPENCER pointed to the phono-

graph business as an exam-
ple of progress in a time of
television competition. “This
was accomplished by technical
improvements backed by high
artistic and technical standards
plus the ability to give everyone
something they wanted.” One vital
statistic had emerged from the
record industry: “Six months, ir-
respective of season, after any
given area was reasonably satu-
rated with television sets, record
sales would hit an all-time high.

This applied to all types of
records.”
Observed Spencer: “At that

time, in each area, you would
find the local exhibitor bemoan-
ing his lot, cursing television,
talking about his lousy business
and the lousy pictures he was
getting. Apparently, six months
with television sets was his time
after his town was saturated
to try to get people out of the
house and into his theatre. Had
the entire industry done some-
thing about this, the individual
would have fared better. It is
difficult for one theatre or a
small group to buck a trend.”

The rest of Spencer’s remarks,

CANADIAN FILM WEEKLY

Go to the
PHONOGRAPH INDUSTRY

Thou
Slugoard!

Consider Its Ways and Be Wise,

Says GORDON SPENCER

just as choice, are given verba-
tim:

“Before World War II, we
used to do everything except
empty the local jail to get busi-
ness. Through the war and for
a time afterward, we sat back
and watched them come in and
hoped they wouldn’t damage the
carpet or break the seats. Then
all our creative advertising talent
and too much of our managers’
time went into. selling candy
and/or popcorn. I know all
figures on candy counters. I
know how, on paper, they have
kept theatres alive. But I still
wonder what would have hap-
pened if all that effort had gone
into selling our theatre and our
pictures to our public. After all,
the more customers we get the
more candy we can sell. If we
stop making managers worry
about candy shortages, candy

=| HE BOOK! THEY CUT
*~ OUT ALL THE MURDERS

campaigns, and assorted miscel-
laneous multitudinous bookkeep-
ing problems and, instead, make
them sell theatres and pictures,
wouldn’t we be more construc-
tive?

“T can only offer this now.
There is a trend. We must build
on it, make it snowball. We have
a chance to do this by selling
ourselves and what we have to
offer. There is absolutely nothing
new in this thought but I do
think the time is more oppor-
tune than it has been for a long
period.

“First: Do what you can every
day and every hour to sell mo-
tion pictures — not a movie, but
the whole idea of getting out
and seeing what wonderful
things are taking place in mov-
ing pictures theatres—and often.
Sure there are some bad ones—
it happens in every business —

AND THE GOOD STUFF:
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Page 17

F. GORDON SPENCER

but be proud of the rest and re-
alize that millions of people have
seen and sat through much
worse on television than you'll
ever be able to offer.

“While you are hoping that
our industry will pick up some
of television's good things (four
pictures a year starring The
Beverly Hillbillies would rescue
a lot of small town theatres and
maybe some bigger ones), rea-
lize that you are offering the
world’s most expensive enter-
tainment at very low prices. Re-
alize it and pass the thought on
to friends, foes and customers.

“Second: Sell your theatre —

not to somebody but to every-
(Continued on Page 22)

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A TYPICAL SCENE AT THE MONTHLY LUNCHEONS OF THE VARIETY CLUB OF ONTARIO

At the microphone Barker Fred Davis, well-known television personality acting as
King for a Day, or toastmaster, brings laughter with his introduction of one of the
head table guests. Seated are Margaret O’Brien, one-time child star of the movies
and the co-star of A Thousand Clowns with Dane Clark, who is present but not in
the photo. Next to her on the right are the Hon. James Auld, Ontario Minister of

.
Dt

——-

Pioneers Mark
The Diamond Jubilee

On the right are scenes related to The
Diamond Jubilee of the Silver Screen in
Canada, which was celebrated by the
motion picture industry earlier this year.
It was sponsored by the Canadian Pic-
ture Pioneers.

The top photo shows the luncheon in
Vancouver, at which Attorney-General
the Hon. Robert Bonner, QC, was the
guest speaker. President Harry Howard
is shown at the microphone.

The second photo shows Montreal
Pioneers with Walter Pidgeon, Saint John
native who is a Hollywood star. Pidgeon
narrated the National Film Board short
about the Canadian motion picture in-
dustry, Anniversary, without fee. Left to
right: I. (Dutch) Levit, Quebec CPP branch
president Harold Giles, Nat Gordon, Ar-
thur P. Bahen, Pidgeon, Bill Lester, Mort
Prevost and Harry Cohen.

The third photo shows the luncheon in
Toronto, at which the national president,
Dan Krendel, presided.

The bottom photo is of the committee
for the Winnineg Iuncheon. Front row—
Harry Gray, Harry Hurwitz, Hy Swartz
and R. D. (Bob) Hurwitz. Back row—
Dave Carr, Dave Wolk, Paul Morton,
David Rothstein, branch president and
toastmaster of the luncheon, and Jack
Taylor, branch secretary-treasurer.

Travel and Publicity; Tessie O’Shea, a principal in The Girl Who Came to Supper;
the producer of that show, Herman Levin; Chief Barker George Altman; Davis; Walter
Susskind, conductor of the Toronto Symphony Orchestra; and Irene Browne, a princi-
pal in The Girl Who Came to Supper. That show was at the O’Keefe Centre and
A Thousand Clowns at the Royal Alexandra. —Photo by Len Bishop

Remember y he T rust Fund

. SILVER |
“SCREEN ft |

7
R

Variety

Village
Needs
Your
Help

THE MIRISCH COMPANY PRESENTS

SUL BRUNER,
GEORGE CHAKIRIS
SHIRLEY ANNE FIELD.

CO-STARRING

RICHARD BASEHART BRAD DEXTER Lee THOMPSON

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ELLIOTT ARNOLD and JAMES R, WEBB FLLIOTT ARNOLD LEWIS J. RACHMIL :iicsemstem

Page 22

SHACKLEFORD

(Continued from Page 13)
60th Anniversary celebrations in

Calgary.”
The story then relates how
“Shack” — as he is spoken of —

was a draughtsman when he got
a job at the Calgary Film Ex
change. After that he became
manager of the King’s Theatre,
Lethbridge, earlier the Starland
and after that the Phoenix, which
stood between the Colonial, now
the Capitol, and the Empress,
later the Roxy, now gone. Next
he and his partner, James B.
DeGuerre, a tailor, took over the
Majestic. By 1938 he controlled
the three top theatres in Leth-
bridge. A competitive theatre
was the Monarch; renamed the
Lealta, which closed some months
ago after 51 years.

In 1950, on Thanksgiving Day,
which was Oct. 9, Shackleford
opened the Paramount in part-
nership with Famous Players. In
the 1950’s the Roxy closed. The
paper said:

“For the record the first mo-
tion picture theatre in Leth-
bridge was the Eureka, built in
1909 on what is now the site of
Perlux Cleaners. Later the same
year the Lyceum (later the Em-
press and the Roxy and now the
site of Capitol Furniture), came
into being.

“The Majestic, mainly a live
theatre but for a brief spell be-
fore its change to Purity Dairy,
opened in 1910.

“In 1912 came the Morris The-
atre at 416 5th St. S. but apart
from the fact that its owner was
a Mr. Morris who used to stand
out front with a bowler hat and
umbrella, little is known about
it. Only a small theatre, it just
vanished.

“In 1912 also came the Bijou
(later the Fleming-Kennedy Gar-
age which was burned down),
also the Monarch—later Lealta
— in North Lethbridge, and the
Sherman, still in use as the
Capitol, and named at various
times the Orpheum, Colonial and
Palace.”

This paragraph is interesting:

“For the future? Who knows,
but it is not too far away from
the day ‘when telecasts of events
all over the world will be shown
on the Lethbridge theatre screens
live, just when they are happen-
ing. Showbusiness, and_ the
Shacklefords in Lethbridge, will
undoubtedly go on to many new
things before the next 60 years
of motion picture celebrations
come around.”

Two of Shackleford’s three
sons — Doug, who manages the
"Paramount, and Bob, manager
of the Capitol — are with him
in the business.

WB To Film ‘Poor Richard’
Poor Richard, a new Stage
comedy by Jean Kerr, has been
acquired by Warner Bros. in a
Pre-production agreement,

CANADIAN FILM WEEKLY

Canada’s Gift: knees

(Continued from Page 7)

Toronto, who was a partner in
United Artists at its organiza-
tion. Mack Sennett, who pro-
duced his own films, came from
Quebec and Charles and Al Chris-
tie, performers and producers of
the famous Christie Comedies,
were London, Ont. lads.

There were, however, quite a
number of Canadians who held
leading executive positions in
the early and later days of the
motion picture industry. Jack
Warner, the president of War-
ner Bros., was born in London,
Ont. and, incidentally, the cur-
rent president of Warner Bros.
International, Wolfe Cohen, is a
Canadian who was moved from
the top post in this country.

Louis B. Mayer, the head of
MGM for many years, grew up
in Saint John, NB, where many
members of his family still re-
side. Henry McRae of Stayner,
Ont., a producer-director known
as “The Serial King,” was the
general manager of Universal
City when Carl Laemmle opened
it in 1915.

Ed Auger, one of the top RCA
executives, started with L. Er-
nest Ouimet as manager of his
second theatre, the Bijou Dream,
in Saint John in 1907. Ouimet
had opened Montreal's first per-
manent cinema the _ previous
year. Pat Powers, one of the top
executives of the Fox West Coast
circuit for years, started in To-
ronto as an employee of its first
cinema operator, John Griffin.
W. J. German, the head of the
company which bears his name

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565 College St.
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and which markets Eastman
Kodak's film to the studios, came
from Port Hope.

George L. Bagnall, for years
president of United Artists, had
Calgary as his home town and
Edward N. Beck, president of
Triangle Productions and other
independent companies, hailed
from Toronto. Bagnall had been
with Fox, became treasurer and
general manager of Paramount
before going with Alexander
Korda as the president and gen-
eral manager of his company.

Nat Levy, starting in Toronto
with Universal in 1924, was east-
ern sales manager for RKO when
that company dropped out of
distribution some years ago. His
brother Jules, after a career in
distribution, became a producer
of important films. Edgar and
Archie Selwyn moved from the
stage, where the former was an
actor and the latter a producer,
into films. Edgar, who began as
usher soon after his family
moved to Rochester from _ To-
ronto, was vice-president in 1917
of the Goldwyn Pictures Corp.,
one of the companies that made
up MGM in a merger. Archie was
a film producer and agent.

David Coplan was promoted
from the top job of United Art-
ists in Canada to become head
of UA in the United Kingdom
during the war and he was a
director of the Odeon Theatres
of Britain, of which UA owned
25 per cent at that time. He
later entered independent dis-
tribution and production and his

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current interest is Canadian
Film Industries, a studio-lab
complex now owned by Teleme-
dia Ltd., of which he is manag-
ing director.

Ralph Foster, now public re-
lations chief for the CTV Net-
work, has been chief of film for
the United Nations and the Aus-
tralian National Film Commis-
sioner.

Probably the present outstand-
ing example of a Canadian oper-
ating in the international field is
Louis Chesler, organizer and
board chairman of Seven Arts
Productions. Chesler, born in
Peterborough, Ont., began his
business career in Toronto.

SPENCER

(Continued from Page 17)

body. Make everyone in town
realize that your theatre is there.
Make them realize that it is
open, ready, willing and anxious.
On television, radio, the press
and the street, keep your the-
atre alive. If you have the abil-
ity, you can do it for very little
money. Don’t just get that sign
that says ‘Open!’

“Third: Sell today’s movie or
the coming one in and around
your theatre. Don’t just tell peo-
ple, sell people. We all spend
much too much money on rout-
ine advertising done in a routine
way from routine material. Some
of this should be done as a ser-
vice, the ‘what’s on today’ type
of thing. But don’t do too much
and get a little integrity and a
little less corn even into this.
Play a double bill once in a
while, not always ‘two big hits.’
Do everything you can to get out
of the rut. Do different things,
say them in different ways. Try
for more integrity, particularly
perhaps in small towns. I used
to do my own radio spots when
I was a theatre manager — just
because I was a different voice.
I finally got things to the point
when I could tell the public that

such and such a picture was
very good — I was sure they
would like it — and they would
respond.

“I can’t go into detail. I hope
I’ve given food for thought. I
don’t set myself up as an expert
on these matters but I do know
that, by and large, from top to
bottom, this industry is very
weak in the field of good promo-
tion. Even without the support
which should come from the top,
those theatres today that are do-
ing a good promotion job them-
selves are making money. I don't
know how much we can do
about all this at this meeting
but I repeat there is a trend in
our favor. Grab it. Sell yourself,
sell the movie idea, above all
sell your theatre to your public,
then sell your current and com-
ing attractions. Nothing new,
but do it ... and you'll be sur-
prised at how good the candy
business can become!”

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BRANCHES

VANCOUVER WINNIPEG MONTREAL

‘FILMS LIMITED
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THE EXECUTIVES:
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UNIVERSAL PICTURES
RKO RADIO PICTURES
WALT DISNEY PRODUCTIONS
REPUBLIC PICTURES

EMPIRE-UNIVERSAL FILMS LIMITED

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Cheistmee CANADIAN FILM WEEKLY Page 25

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The Theatre and Its People

When the first World Theatre Day was being celebrated two
years ago this message from the late President Kennedy was
featured: “The theatre throughout history has been the means
by which men expressed their joys, their aspirations, their ways
of coming to terms with fate. Through illusion it has expressed
truth, through gaiety and delight it has touched =
on the big issues of life.” “ie

Everyone who has spent time in theatres has
little impressions that the years haven’t worn
away. Who hasn’t seen and remembered a time {™
when the curtain didn’t reach the stage floor and
the feet of the players hurrying to take their
places for the next scene added something to the |
evening?

The ladies in the audience are an interesting =—
show in themselves to a male patron. At matinees, where they
are predominant, they provide many latecomers. They aren’t
afraid to ask the taller lady in front if she would mind sliding
down a bit, whereas a man would never ask that of another man.

At matinees the babble that rises suddenly during a brief
curtain drop is like a swarm of bees that appears from nowhere
—and the babble ends as sharply when the players resume.
Then there is that fascinating deftness that gets the glasses
off, the eyes dabbed and the makeup repaired during the bows
of the actors after a teary play.

It seems to me though that what one tells about the thea-
tre most are the anecdotes read and heard. That’s what I’ll do

here mainly.

Ben-Ami and the Actor's Way

Jacob Ben-Ami, when here at the Royal Alexandra in The
Tenth Man, delivered an Edgar Stone Lecture on the theatre
at the University of Toronto’s Hart House and told amusingly
how he came by his stage name. He was a promising young actor
in Odessa, Russia and was given a good role in a play. The man-
agement suggested that his long Russian name wasn’t suitable
and that he change it. :

The young actor objected but the playwright, a friend of
his, helped prepare the playbill and changed the former’s name
on it to his present one. The actor was furious and gave every-
one a bad time about it. The next morning the reviews came
out and they said some very praiseful things about a new young
player named Jacob Ben-Ami, urging the public and the profes-
sion to keep their eyes on him.

To return to his old name would nullify the future value
of the praise. “I had either to give up my name or give up the
reviews,” Ben-Ami told the Hart House audience. “So, being
an actor, I gave up my name.” avd ;

Another interesting Ben-Ami tale was about his family’s emi-
gration to London while he, progressing in his career, remained
in Russia. His mother kept writing him pleading letters to Join
her and his brothers and sisters in London. He didn’t.

One day an offer came to join the company of the great
actor, Rudolph Schildkraut, in London, for an excellent role. It
was too good to refuse.

“To the day she died,” he said, “my mother never knew
that I had come to London to join Schildkraut and not her.”

That’s an actor for you.

A Few Anecdotes

In the Autobiography of Thomas Dibdin there is a story
about a London actor of Garrick’s day, one Newton, who sfop-
ped his performance to address the mother of an infant whose
crying made it difficult to hear the play. Said he to the astonish-
ed mother: “Madam, I assure you, upon the veracity of a
gentleman, that unless you instantly adopt some method of
keeping the play quiet, it will be morally impossible for the
child to proceed.”

The audience roared, the baby was frightened into screams
and the mother took the hint and left with it.

Macbeth has given the English-speaking peoples much in-

Nut iif WE OOSSIN

A STORY of unusual interest which appeared in In and Out of
Focus of Dec. 31, 1921 was about a dinner tendered to “J. P. Bickell,
founder of the firm,” in celebration of “the fifth anniversary of the
organizing of the Famous Players Canadian Corp., Ltd.” — as N. L.
Nathanson, managing director, pointed out. George Weeks, general
manager of Famous Lasky Film Service, Lt., was toastmaster of the
dinner, which was held in the King Edward Hotel and attended by
over 200 persons. Bickell being a mining man, a mine entrance had
been constructed at one end of the hall and after Arthur Cohen,
head of Regal Films, made the presentation Bickell mounted the
mine mouth and made a speech of thanks. During the evening an
orchestra of 50 musicians conducted by Jack Arthur, FPCC’s direc-
tor of music, entertained. “Right in the midst of these selections
the drummer went wild, or to sleep, causing Mr. Arthur to scold
him. Right away quick another musician made a pass at the direc-
tor and the orchestra fled in confusion.” The Roaring 20’s, indeed!

YOU CAN DO ANYTHING to an actor and he might forgive
you — except for one thing. Don’t knock his act. An actor was re-
calling the time a man-and-wife team approached Al Jolson for a
loan. “I'll tell you what I'll do,” said Jolson. “You have a lousy act
and it will never be any better than it is now. So, if you promise
to quit vaudeville, I'll give you $5,000 to buy a grocery store.”

Later someone mentioned Jolson to the man in the act.

“Jolson!” said the man. “Don’t talk about the S.O.B. in front
of me. He knocked our act.”

PEOPLE HAVE BEEN so busy talking about the Cleopatra of
Elizabeth Taylor that they have forgotten the Cleopatras of the film
past. The first was likely that of Helen Gardner, made by Vitagraph
in 1911. Miss Gardner, who formed the Helen Gardner Picture Corp.
in 1912 as the first star to establish her own company, was a heart-
breaker, judging from the titles of some of her films — Becky Sharp
in Vanity Fair, A Princess of Bagdad and A Sister to Carmen. Theda
Bara, whose stage name was an anagram for “Arab Death” and
who was an Iowa girl named Theodosia Goodman, played Cleopatra
to Thurston Hall’s Mare Antony in the 1917 version, also nade by
Fox. And in 1934 Claudette Colbert played the Egyptian femme
fatale for Cecil B. DeMille’s Paramount version, with Henry Wilcox-
on and Warren Williams supporting her. The above information
grew out of a reference by Al Easson to the Helen Gardner version.

teresting and useful language and it is even responsible for one
widely-used expression that isn’t part of the play. I learned of
that in Webb B. Garrison’s Why You Say It (Abingdon Press,

NY).

An obscure English dramatist, John Dennis, invented a ma-
chine that imitated thunder for use in a play of his. The play
was taken off to make way for Macbeth. Dennis dropped in to
see the Shakespearean drama and found that his thunder ma-
chine was in use.

“They will not let my play run,” he complained, “and yet
they steal my thunder.”

A highly-appreciated actor of the 19th Century was C. W.
Couldock, who was connected with Toronto’s far-famed but
now-gone Grand Opera House at its opening in 1874 and while
there trained Henry Miller, after whom a present-day Broad-
way theatre is named.

Couldock was playing a rustic character named Luke Field-
ing in The Willow Copse, appearing with the company as a
guest star and special attraction. On the stage Luke was asked
to sign his name and he made a mark instead.

“Can’t you read?” the actor sharing the scene asked.

“T can’t read, I can’t write and’ — here Couldock looked
sideways at the half-empty house and continued talking —
“T can’t draw either.”

Enough for now. But I have just one more thought. Some
day I'd like to be in a theatre where, at the end of the perform-
ance, the players line up on the stage after their bows, break into
applause and cry “Angel! Angel!” until some quiet, unsung
hero rises and acknowledges the salute. Too often that’s about

all the backer would get out ef the play.
(Copyright by the author}

i Toren oF GOOD WISHES FI

tien a

ature 22 fe oboe as

eee
On

ne J NG

Meee
ot CT eee
re SSS ‘ 4
We

eoaeral Sound eS)

AND THEATRE EQUIPMENT LIMITED

Branches Across Canada

TO WISH YOU JOY
AT CHRISTMAS

AND PEACE
THROUGH

THE NEW YEAR

«i

United Amusements

CORPORATION LTD.

WILLIAM LESTER
President

Consolidated Theatres

LIMITED

LESTER ADILMAN
President

BRARRERAARaARARAAARARARAAA

SHRIEIRLE LR ICIRIGIRISIEIR IE NAIR IRIE IIR IZ IZ ICICI IR IIR IIE IR IZ IRIE IRI IR IIE ICI Ie Yt

Bia

Season's Greetings

from the

Saskatchewan Motion Picture

Exhibitors Association

President
H. GUNN
Regina
Vice-President Secretary-Treasurer
J. MAHON J. M. HEAPS
Prince Albert Regina
Directors
J. LUNDHOLM CG. R. MILLER
R. PLUMB R. R. SOUTHAM
A. BARTELUK W. JOHNSTON
HARRY DURHAM N. WARNER
J. MARSHALL G. M. MILLER
kK. E. NELSON F. BEATTY
W. RUSSELL » HERNER

J
W. WELYKHOLOWA

SPGIE LEIS EIS IERIE IE IEIE IE IEE PEI IE IE EIA IRIE IRE RIEU IIE IIR IZ IR IR III ICI IR IRIE IIE IIR ICICI IRIS IRIE IR ICI IRIE
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BRB DNDBD BD BM DNV D DD DNDN NWN MANNA ANA

Christmas Number

WO of the most interesting

reports at the recent annual
meeting in Toronto of the Mo-
tion Picture Industry Council of
Canada were those of the Pub-
lic Relation Committee, read by
Reg Wilson for C. S. Chaplin,
chairman, in the latter’s absence,
and the Film Advertising Circle,
given by its chairman, Frank
Lawson. Chaplin is Canadian
general manager of Seven Arts
Productions and Wilson his sales
manager, and Lawson is adver-
tising and publicity chief for
Rank Film Distributors of Can-
ada Ltd.

Both reported on the opera-
tion of publicity-public relations
projects of a character and
scope not to be found anywhere
in the motion picture world, in-
cluding the United States. Chap-
lin dealt with the Academy
Award Sweepstakes, originated
in Canada some years ago, which
annually brings a great harvest
of interest in motion pictures by
the public, which is reached
through the gratis co-operation
of every form of public commu-
nication. Lawson related the
triumphs of the Diamond Jubilee
celebration originated by the
FAC, sponsored by the Canadian
Picture Pioneers and carried out
jointly.

N the case of the Academy

Award Sweepstakes, which
bring prizes to the persons who
come closest to guessing the re-
sults, the Toronto Daily Star
printed over 7,000,000 copies that
carried the ballot, 69 theatres
participated and ran trailers in
and around Toronto, 14 TV sta-
tions in major cities with 9-
000,000 potential viewers offered
panels of film experts and clips

eS PRRIREIR IRIN NAIR IIR IRIE IE IRIR IER
a

Compliments

of the Season from

SOVEREIGN

FILM
DISTRIBUTORS =
Ltd. :

ADD AAD DID DAD DASA NA

Offices across Canada Fa

PRMGPERENERE IEA UENCE ME NELEIZ IRIE EIRENE IZ Ieee eI Ie IIe)

RMDBDMWM ADNAN ANDRA MM ARMBIA

CANADIAN FILM WEEKLY

aaa L LL LLL SLES SEES SC EOCTTELEUT ES ETTT ET)

KKKKKKAKK

O00 tk

and stills from nominated pic-
tures. The Toronto experience
was duplicated in many of these
cities. The benefits were felt at
the boxoffice, were nominated
films were brought back and did
good business — and, in one or
two cases, better business than
during the original release.
“We are living in an_ ever-
changing world and we cannot
exist unless we adapt ourselves
and take advantage of the chang-
es,” Chaplin’s report said. “All
too many exhibitors are still
using the old methods of exhi-
bition without exploitation and
wondering why they aren’t doing
business. Now is the time to
assess your operation and to be
merciless in your self-examina-
tion. Then when — not ‘if’ — you
find where you and your staff
have been delinquent, you can
institute the kind of operation
that is so necessary and vital to

[ They'll Do It Every Time +1 By Jimmy Hatlo |
\Z

ee THE TRAIN FROMTHE city Y
IS LATE AGAIN AND MY FEATURE
PICTURE FOR TONIGHT IS ON THE
TRAIN BUT WERE EXPECTIN HER IN GY
ANY MINUTE NOW, IF YOU'LL JUST
SIT TIGHT, [TLL SHOW YOU MY
IF THE FEATURE

ISN'T IN BY THEN, YOU GET
YOUR MONEY BACK
HOWS THAT?

Cort |

SHORTS

SOO SAAN

SSS

Alises

THE LIFEBLOOD
of the
Motion Picture Imdustwy

Publicity

ame

Promotion

HAAN AA HHA AL LEE OL OC LE I

JOR CY OK

continued operation of theatres.”

[LAWSON told the Council that

the Diamond Jubilee had
achieved some 48,000 lines of
press coverage in about 50 news-
papers and magazines, that 180
radio stations had received a
special radio disc recorded by
David Niven and that the Walt
Disney studios sent out 52 30-
second TV clips to Canadian sta-
tions. The Disney greeting to the
Canadian motion picture indus-
try was prepared from a script
worked out by the FAC. The
luncheons of the Pioneers’ bran-
ches which marked the Anniver-
sary were covered thoroughly be-
fore and after by the press in
the various cities, as well as by
TV and motion picture news-
reels.

“What basically has been
achieved by this Anniversary
promotion?” asked Lawson. “We

WU Lda
Vip are WELL

INA MEAT SLICER
THIS MORNING,
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LONG UNDERWEAR

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STAY HERE NO PLACE
7,| ELSE TO GO. THE ORGANY,
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NIPPED HIS FINGERS

Page 27

have conveyed to the general
public the progressive image of
the Canadian Motion Picture In-
dustry and our faith in the
future. It is not often that we
take time out from our busy
schedule to blow our own trum-
pet and this certainly gave us a
good reason to do it. We have
rekindled old friendships with
our associates within the indus-
try and strengthened our attack
to meet the problems of the
future.”

World recognition was given
to the Canadian industry through
the trade press for the Diamond
Jubilee “and this public expres-
sion of encouraging enthusiasm
from within our industry is the
first striking blow to remove the
sickening downbeat publicity
which other media have.directed
towards the production and ex-
hibition of motion pictures,”
Lawson said. He told the council
that “the actual responsibility
of co-ordinating the program”
had fallen to Barry Carnon, ad-
vertising and publicity director

of Empire-Universal Films, the

FAC chairman at the time.
OTH reports, that of the
MPICC’s Public Relations

Committee and the one for the
Film Advertising Council, were
given big hands by the delegates.
After the FAC report various
delegates got on their feet to
describe the luncheons in their
branches, all attended by not-
ables, and praised the work of
the FAC in creating and helping
to carry out so rewarding a pro-
ject.

ANYTHING LIKE THE
LAST PICTURE ITS
OKAY BY ME IF THE
BLAMED TRAIN
WENT OFF THE

HERE IS FREQUENTLY
MORE HUMOR OFF THE
SCREEN THAN AT
THE VILLAGE MOVIE —

“Fhanx 0 RicHaro P Hess,
CARMEL-BY-THE-SEA, CALIF.

With all good
wishes for your

happiness at
Christmas and
in the New Year

YZ FAS IRAE FILMS LIMITED

JERRY SOLWAY
MARTIN BOCKNER @ PAUL HANNER e BILL ELMAN @ BILL TOD
ABE FEINSTEIN @ SYD SNIDERMAN @ MORLEY MOGUL e ERNIE WHELPLEY

Christmas Number

HARLES E. McCarthy, execu-

tive vice-president of the
Council of Motion Picture Or-
ganizations (COMPO), which has
its Canadian equivalent in the
Motion Picture Industry Council
of Canada, read a brief section
of the COMPO by-laws to the
annual convention of the Allied
States Association of Motion
Picture Exhibitors in New York
City recently.

Its objects are ‘“(a) to increase
the prestige of the motion pic-
ture industry; (b) to foster the
common interests of all its bran-
ches and branch organizations,
and (c) to enlist all members of
the industry in improving pub-
lic relations—

“1. By collecting and dissemi-
nating information about the in-
dustry, its problems, its product,
its patrons, and its employees;

“2. By cultivating new patrons
for theatrical motion pictures;

“3. By developing the general
usefulness of the motion picture
and publicizing its service to the
local community, the Nation and
the United Nations;

“4. By furthering those mat-
ters in the public relations field
which pertain more particularly
to the relationship of the 238,000
people in the industry with one
another; and

“5. By resisting all encroach-
ments upon the freedom of the
screen and all unjust or unlaw-
ful discriminations or exactions
upon the industry.

“Nothing in the foregoing shall
be considered to authorize the
Council to represent the mem-
bers in matters pertaining to the
licensing of motion picture film
or to trade practices.

“What has COMPO done in the
14 years to carry out these aims?
I think you will agree that in
these 14 years COMPO has suc-
ceeded to an extent that many
in our business believed impos-
sible at the time of its forma-
tion. Today COMPO stands as
the one continuing organization
in which all elements of our
business can unite for the pur-
pose of solving problems that
confront the entire industry. As
an agency representing all phas-
es of the industry it has a unique
position and has performed ser-
vices which only such an organ-
ization could accomplish.”

LISTING the accomplishments

of COMPO in that time,
McCarthy gave reduction of the
amusement tax in the USA; ex-
emption of motion picture the-
atre employees from the federal
minimum wage law, which
helped preserve the life of
many theatres; and the organ-
izations’ merchandising plan. To-
day COMPO is still fighting the
amusement tax, seeking its eli-
mination, and its current cam-
paign, aimed at film censorship,
is to enhance the Bill of Rights
in the public mind.

CANADIAN FILM WEEKLY

COMPO, McCarthy said, “is
not a physical thing.” What is
it? “It is a concept of industry
unity, an instrument always in
being, always ready to carry out
industry efforts that call for
United action. As such, it is one
of the most precious assets in
this business, and should be kept
strong and vigorous.”

retary of the Motion Picture In-
dustry Council of Hollywood, an
all-embracing organization, so
Bossin borrowed the name for
his section. That section, having
no budget, had to abandon its
plans for a wide-scale public re-
lations campaign.

In October the Canadian
equivalent to COMPO, which

COMPO ¢
The MPICC

What McCarthy said about
COMPO is just as true of the
Motion Picture Industry Council
of Canada. In fact, the MPICC
is the same age as COMPO and
has had just as many annual
conventions. And why not? John
J. Fitzgibbons, CBE, then presi-
dent of Famous Players Can-
adian Corp., saw COMPO being
organized in the USA and attend-
ed its first meeting as an obser-
ver. He returned to Canada and
proposed before the Motion Pic-
ture Section of the Toronto
Board of Trade — the closest in
the industry to an all-embracing
organization — that an equival-
ent body be formed in Canada.

N May, 1949 the Board of

Trade group had voted to es-
tablish a public relations section
with Hye Bossin, editor of the
Canadian Film Weekly, as chair-
man. Bossin’s brother, Art Arthur,
was at that time executive sec-

SORRY
SIR, BUT

WERE GOOD
FOR LAST
WEDNESDAYS

had, at Bossin’s suggestion, adop-
ted his committee’s name, the
Motion Picture Industry Council
of Canada, held an organization
meeting in Ottawa. There John
J. Fitzgibbons was elected its
first chairman and served for
four terms. The chairmen after
that were A. J. Mason, Spring-
hill, NS (1953 & '54); R. W. Bol-

stad, Toronto (1955, ’56, ’57 &
58); C. S. Chaplin, Toronto
(1959 & 1960); and Frank H.

Fisher, Toronto (1961, 62 & ’63).
The 1964 chairman is Peter S.
Myers.

The Motion Picture Section of
the Toronto Board of Trade,
having been dormant for years
because the MPICC made it un-
necessary, ended its existence
last year.

THE accomplishments of the

Motion Picture Industry
Council of Canada, aside from
the very important one of indus-

IS THAT S02 AFTER LETTING — THIS5’LL BE
YOU PUT POSTERS IN MY STORE E
THESE PASSES \ WINDOW WEEK AFTER WEEK, “Gi
AND NEVER USING ANY PASSES,
YOU'RE TRYING TO KEEP ME
AND MY GUESTS OUT OF THE
ONE SHOW WE WANT TO
SEE GET THE ~—7
MANAGER F =

GOOD ¢ BE-

IN TOWN, OLD
———

TO MAN THE
CRUPLEYS GOT / GUNS ALONE! &

Page 29

try unity, are on par with
COMPO — if not greater, Can-
ada still faced problems settled
in the USA much earlier, along
with the usual ones — the am-
usement tax, indiscriminate taxa-
tion and so on.

Sunday movies were no prob-
lem in the USA when COMPO
was established but Canada had
them in Quebec only. It was the
work of the MPICC which led
to the progress in Ontario, where
90 plebiscites favored them, and
in British Columbia and Manito-
ba, where the largest cities have
declared in favor, the campaign
goes on. Film censorship was
outlawed in the USA but Can-
ada is the most overcensored
film country in the world, al-
though liberalization through
classification is growing. In Can-
ada, where the amusement tax
is provincial and municipal, tre-
mendous progress has been made
in reductions and eliminations
with the guidance of the MPICC
to regional and provincial organ:
izations. The USA has film pro-
duction and the MPICC is sym-
pathetic about encouraging pro-
duction in Canada.

The MPICC’s boxoffice com-
mittee originated the outstand-
ing annual campaign of its kind,
the Academy Award Sweep-
stakes, and one of its affiliated
bodies, the Film Advertising Cir-
cle, originated and directed the
greatest public relations cam-
paign in Canadian motion pic-
ture history, that of the Dia-
mond Jubilee celebration.

™PHE MPICC, like COMPO, has

made a matchless contribu-
tion to the progress of the in-
dustry and its fight for preserva-

tion. It will continue to serve
equally as well in the years
ahead.

CRUOLEY REALLY
HATES MOVIES, BUT
NOT AS MUCH AS
HE HATES LISTENING
TO HIS WIFE AND
HER FRIENDS GAB

AN? WAIT‘LL
THEY TELL HIM
=\ TO BUY TICKETS /
—~ NE CALL OUT THE

MARINES 7

—_
OB sarurmy Nicht MOVIE —
BILLED AS A COMEDY, —BUT
MOST OF THE FUN TAKES
PLACE IN THE FOYER /

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MAM 1, FLA.

Page 30

Dont BELIEVE for a moment
that you are a spokesman

for the public. The only person

you speak for is yourself.”
(Nathan Cohen, writing Rules for

Budding Critics, in The Toronto
Star.)

Whenever HE‘REVIEWS A MOVIE FLOP,
CRITIC MENASTY PULLS OUT EVERY STOP -

CANADIAN FILM WEEKLY

E CAN GENERALLY influ- AM NOW sitting in the small-
ence people to stay away est room in my house. I have
from what he considers a bad your review in front of me. In

”

play — but he has practically a moment it will be behind me.

no power to make them attend teEY Renerakay cornnosel)
a good play.

(Sydney Harris, syndicated col- letter to Rudolph Louls, a Munich
umnist and former drama critic.) critic.)

in a

Dip HE SAY THIS FLICKER WAS REALLY BAD?
WELL, YOU'D NEVER KNOW IT FROM THEIR. AD!

Cleopatra’ isa
fantastic collection 7

of unbelievable tripe.
The amount of
garbage in this
film is breath-

A Dell-McClurs Syndicate Feature

FOR EVERY hundred men who

have succeeded in writing
good drama you will be at pains
to discover a single one who has
succeeded in writing good dra-
matic criticism and the ratio be-
comes all the more impressive
when one considers that where
one man tries to write drama a
hundred men try to write cri-
ticism.”

(George Jean Nathan in The

Popular Theatre, published by AIl-
fred A. Knopf, NY, in 1918.)

WHEN YOU HARK to the voice
of the knocker
And you hear his hammer fall;
Remember the fact that the
knocking act
Requires no brains at all.”

(Ivor Brown, quoting an anony-
mous author, in on Observer ar-
ticle deploring ‘the carpers in the
English press’ who do drama
criticism.)

F AN IDEA or an interpreta-

tion cannot survive a critic,
any critic, it is no good. If the
idea is sound, then the criticism
advertises and spreads it. Wil-
liam E. Dodd told us once never
to reply to a critic, and I have
never voluntarily done so. The
critic is entitled to his view and
the author will waste his time
trying to change it. The idea has
its own destiny, and once lJaunch-
ed it is independent of both au-
thor and critic.”

(William Prescott Scott of the
University of Texos in the 1958
presidential address to the Ameri-
can Historical Association in Wash-
ington, DC.)

j
Vj
fon

ja te al th
(@ a Ne FANTASTIC!

UNBELIEVABLE!”
> BREATH-TAKING.”

\ a | \

THEODORE STOIL Fuh
AUSTIN, TEXAS
10-26-63-

rs PRUGIGIE IGEN ICING HC NEIGIENE HEHE IERIE UE IE PRRERE ZICH ICICI EUR IC ICICI ICICI

Compliments
of the Season

TRANS- WORLD

LABORATORIES

240 Bates Road
Montreal 26, Que.
Phone: REgent 3-7181

“A RECOGNIZED AUTHORITY IN
CANADIAN FILM PROCESSING”

PERE NE REIS ERE ERLE LE NE REE RE LEIS UE ICI IIS HERE PE MERE REESE CUE HEIR HEUER RR PICU US UR RENEE RENEE IZ LEEPER RIZE

te
Lael Bea Dee sed Pe De sed Be tle Des Do Ps De DeBoor BeBe Pare De Pet Pas Be PLP > Pere De p> per P= pac b=r be barber bev be barbs berber

BUABi DDB Bi B121 Di Di WD DW BDV DIDID Vi DW DDD DD Didi BBD Di DDD BDV BWI 1

Christmas Number

HE FILM CRITIC seems at

his worst when he is aware
of literary or theatre compar-
isons of style, when he is mak-
ing his own (superior) cultural
position clear, when he is apos-
trophising the illiteracy that
went into the making of a film.
To date he seems to be at his
best when he is telling himself
what he likes about a movie.
This is, I expect, an early stage
in the critical history of the arts,
but it is an honest and exhilar-
ating one.”

* *

“In the present state of British
and American film criticism
there are a score of film critics
who are thoughtful, clever, in-
genious. But it is hardest of all
to be apt. It may be we are
already too sophisticated, too
literary to criticize with a clean
and alert intelligence a game
with the folk simplicity and
strength of the movies. For time
and again in English criticism
one reads a clever remark and
feels what a good remark it
would be if only it was true.”

(The Critic in Film History, one

of the chapters in a series of

articles by different writers which

makes up Footnotes to the Film,
edited by Charles Davy and first

published by Lovat Dickson Ltd.,
London, in 1937.)

GHOW ME an actress who says

she does not read criticism
and I will show you a liar; or,
if not, a fool.”

(Julia Marlowe to Hector Charles-
worth.)

WHEN I MADE Muscle Beach

I had no view-finder — just
a group of paper clips that I'd
arranged. I didn’t know how to
frame the image. I think it was
Sight and Sound said: ‘At last
someone has the courage to
frame off-centre.’ So much for
film criticism.”

(Joseph Strick, producer of The

Balcony, to David Bates of The
Observer, London.)

OR fifty years serious film

criticism in England and
America has been plagued by
the assertion that film can be
an art. I say ‘plagued,’ because
almost all the assumptions about
the nature and possible forms of
cinema have been made on the
basis of this assertion: and, in
my opinion, it is no more than
an assertion.

“The trouble with the belief
that film can be art is that the
critic tends to elevate the films
he admires by referring to them
as ‘art’ and to deprecate those
he does not by referring to them
as ‘products,’ ”’

(Paul Mayersberg, in a despatch
from London for The Montreal
Star. The following week Jacob
Siskind, The Star's film critic, took
issue with Mayersberg's opinions
because "'they were so_captious,

capricious and, | think, so arrantly
nonsensical,'')

To
The Canadian
Motion Picture
Industry

SEASON’S GREETINGS

From

THE NATIONAL FILM BOARD
OF CANADA

- Pra yed od od ed ed ted ed Need fed Yead ocd Sed etc ad Feed Pc ded Jed Pad ocd Yacd Jed J 74

PMSA RIAL AL ALARA AIA Sol AGUA AAI AL ALLA RLALAL ALA ALG GSC AULA AAS mee
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PERE RE RENE RENE NE NE NE NEE ENE NE MERE UE NE UE NE NE UE RE NEUE NENT REPEC NEIL UE RENE NE PEAS UE LENE ILENE

Season's Greetings

and

Best Wishes

“The Seatous Geet

y=
By RA
aa <
“N
"4 SAN

17 ON

Il tl
THE To All the 7
JOE POSTER Members of the Motion
AGENCY

Picture Industry

THEATRICAL

MANITOBA

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VRRP NEUTER ISLE LEE ELE RENEE ICICI RE RE Re Te Ne LEIS IEEE IE NEIE IZ Ne te tete terete iets

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See your theatre supply dealer, Or write:

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ARARRAARARDARAINANI

Where Movie Men
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277 VICTORIA STREET
TORONTO
EMPIRE 3-2413-4

LEE IEEE IEEE REI RLEIIR IE IA IRIN

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OPEN 24 HOURS

(Except Sunday) 21 Dundas Square

Toronto = Canada

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DQ LAREN ULLAL NN RENEE NRE LE RZ NE EAS OE ENE OE UE NE RE NE PEE LENE USNS NE NEE ENE EEN

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BU TROY DONAHUE

CONNIE STEVENS

Christmas Number

CANADIAN FILM WEEKLY

Page 35

Saltzman-Broccoli Film,

‘Pass Beyond Kashmir’

Harry Saltzman and Albert R.
Broccoli will produce The Pass
Beyond Kashmir for Columbia
release. Based on Berkely Math-
er's gripping best-seller, it will
star Sean Connery, brilliant
young star of the internationally-
successful Saltzman - Broccoli
James Bond series.

An action drama set in the
Himalayan ranges, The Pass Be-
yond Kashmir will go into pro-
duction late in 1964 in Britain
and on extensive locations in the
East. Berkely Mather is also
writing the screenplay. The pro-
duction company will be Eon
Productions, Limited.

Stars Cast In Universal Film

Cary Grant and Leslie Caron
will star in an untitled comedy-
drama at Universal.

Hans Conreid Added To
‘Robin & The 7 Hoods’

Hans Conried has been set for
a top comedy role in Robin and
the 7 Hoods, the Warner Bros.
motion picture comedy starring
Frank Sinatra, Dean Martin,
Sammy Davis, Jr., Bing Crosby,
Peter Falk, Victor Buono and
Barbara Rush.

Gordon Douglas is
the Technicolor comedy with
music, with Sinatra producing
and Howard W. Koch as execu-
tive producer.

directing

SRIRIIRIR ICI IRIRIRIRIRIRIRIRICIRIZIZIIEIRICN

Mr. R. W. Trowern
and Staff of

Canadian Imperial
Bank of Commerce
Dundas and Victoria

Streets Branch,
Toronto
extend to all their
friends the

Season’s Greetings

PADD DAS SN a MNM iol S ot M ae ol o oa a aM al at aN

and best wishes

; is
for the coming a
a

ear. a

Y i

LENZVELE LEME NEE IE IE IEIZICICIZIZICIE ICE III III III UII III IRIEL IIR IIR IIR EERIE RRR

MMDIDM MDDS Maa DID DRS a aaa

REVIEW

CLEOPATRA

with Elizabeth Taylor, Richard Burton, Rex Harrison.
icrlGn nea (Todd-AO—DeLuxe Color) 221 Mins.
ACHIEVEMENT.

AND SPECTACULAR SWEEP. SHOULD BRING IN CONQUERING HOXGFFICE RETURNS.
Proceeded by the pomp and fanfare that befits cinematic royalty,

Cleopatra has made its stately bow. That this, the most expensive

picture ever made, is one of thundering spectacle, goes without say-

ing. As the life of Cleopatra unfolds, there moves across the screen

a pageant of history and a personal story of love, glory and passion.
Producer Walter Wanger and director Joseph L. Mankiewicz have

fused into the picture sure-fire boxoffice values. Opulence hangs like

a halo over the production. Sets, costumes and images are conceived

In Imagination and photographed in beauty.

Elizabeth Taylor puts a dazzling, popular appeal and magnetism

into the title role, making it understandable that Rex Harrison as

Julius Caesar and Richard Burton as Mark Antony can be manipu-
lated at her will.

The picture was filmed in Italy, England, Spain and Egypt in
color by De Luxe and eye-regaling Todd-AO, from the screenplay by
Mankiewicz, Ranald MacDougall and Sidney Buchman.

_Miss Taylor conveys all the physical allure of a queenly siren
while Harrison and Burton set words afire with their acting skill.
Director Mankiewicz has also elicited brilliant performances from
the supporting cast.

Among them are Hume Cronyn as the scholar and devoted
friend of Cleopatra; Roddy McDowall as Octavian, who presses re-
lentlessly on against the tragedy-torn Antony and Cleopatra; Pamela
Brown, the high priestess; Cesare Danova, court adviser to Cleopa-
tra; George Cole, Caesar’s barber; Kenneth Haigh as Brutus; Robert
Stephens as Germanicus, a leading figure of Caesar’s Rome; Isabelle
Cooley, handmaiden to the queen; and Martin Landau as Rufio,
friend of Antony.

The writing often crackles with brilliant dialogue and shows
sensitivity and insight. Brevity however is not its strongest virtue.

The music composed and conducted by Alex North gives depth
and accent to the proceedings. And the photography directed by
Leon Shamroy catches some masterful moments.

Cleopatra is a film experience one cannot forget.

CAST: Elizabeth Taylor, Richard Burton, Rex Harrison, Pamela Brown, George Cole,
Hume Cronyn, Cesare Danova, Kenneth Haigh, Andrew Keir, Martin Landau, Roddy Mc-
Dowall, Robert Stephens, Isabelle Cooley.

CREDITS: Produced by Walter Wanger; Directed by Joseph L. Mankiewicz; Screen-
play by Mankiewicz, Ranald MccDougall and Sidney Buchman, based upon histories by
Plutarch, Suetonius, Appian, other ancient sources; Director of photography, Leon Shamroy.

DIRECTION: Excellent, PHOTOGRAPHY: Brilliant.

20th Century-Fox

(From The Film Daily, NY)

EPIC IC IKI IRIR ICICI IIR IIIRIE ICE IZ IRIS IR IRR INCE IA IEICE ICICI ICICI IE ISIC ICI ISIE ICE IE IE IEIEIGIEISEIEIEIEICISISIEIE ICICI!

Season ’s

CURVE EYEE E EIS IEICE NE NEI NEG
% i
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¥ Season's Greetings

<4)
=

THEATRE POSTER
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Susan Hayward, Bette Davis
and George Macready will star
in Paramount-Embassy’s Where
Love Has Gone.

Greetings

from everyone at

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MY President Executive Vice-President x y i
mA ~ fay

Wy H. S. MANDELL M. L. AXLER aa) -
wy Secretary-Treasurer Director & 8 YVONNE TAYLOR JULIAN ROFFMAN —&
“d & . . . a:

SYDNEY V. ROTH, General Manager s ¥ President Vice-President “i
ng a |6OY &
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DAVID GRIESDORF
H. S. MANDELL
JACK BERNSTEIN

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SHINE FOR

YOU AND YOURS...
AND MAY THE
NEW YEAR BLESS
YOU WITH
ABUNDANT
HAPPINESS AND
PROSPERITY

TORONTO

MONTREAL
SAINT JOHN

WINNIPEG

CALGARY

VANCOUVER

NIA TELEFILM
(CANADA) LTD.

175 BLOOR STREET EAST
TORONTO, ONT. 924-3766

HEAD OFFICE:
DAVID GRIESDOREF — President & General Manager +» MEL LEFKO — Sales & Booking + BUNNY BROWN — Booking

BRANCHES:
GEORGE KOPPELMAN — Que. & Marit. Sales, 5801 Monkland Ave., Montreal, 486-7355
KEN SNELGROVE — Man. & Sask. Sales, 435 Berry St., Winnipeg, 888-4857
LEN HERBERMAN — Alta. & B.C. Sales, 3811B 3rd St. NE., Calgary, 277-0761

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HARRY MANDELL WOE 4. | SPAY

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MYER AXLER SHOOTING
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BARNEY FOX foo | eae
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JOHN KURK , \ ei |
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DAVE MANDELL
MARTIN SIMPSON : AND
DOUG LAWLESS
JIM HARRISON BETTER
FUTURE!

Season's Greetings From

TWENTIETH CENTURY THEATRES

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Full text of "Canadian Film Weekly (Dec 25, 1963)"

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